LAST FLIGHT: Short Film

200 million kilometers from Earth, her base destroyed and her oxygen supply running out, a lone astronaut begins a perilous trek across the windswept deserts of Mars. Her only company are the sporadic transmissions she receives from Earth; radio reports counting down the minutes to global war. As her difficulties increase, the astronaut is forced to search for a way to come to terms with her circumstances - for herself and for the future of life in the universe. Shot amidst the volcanic mountains of New Zealand, this short film explores one woman’s journey to take charge of her own destiny, in the face of seemingly overwhelming hopelessness and isolation.

KEY CAST & CREW

Astronaut: Kassie Watson

Newsreaders: Chad Rowe,
Lutz Halbhubner, Bevan Chuang

Writer, Director, Editor: Damon Keen

Producer: Sarah Butler

Executive Producers: Amie Maxwell, Kiri Maxwell

Cinematographer: Lance Wordsworth

Camera op/2nd unit: Zane Egginton

Compositing:  Paul Jones, Damon Keen


Music: Peter Hobbs


Sound Design/Re-recording Mixer: Kahra Scott-James

On Sound:

The soundtrack design for Last Flight was discussed at script stage prior to principle photography.  The film is science fiction and set on Mars.  It was shot in a number of locations, including a city beach, a national park and Whakaari/White Island, which is 48km from the east coast of the North Island of New Zealand.  Last Flight explores a woman’s journey.  Some sequences were ‘green screened’, therefore shot in a studio, and background footage composited with footage of the actress.  Months were spent in postproduction to make the visuals consistent, and the film look like it does take place on Mars.  Damon Keen, the director felt sound design would be a key soundtrack component and integral to the story’s narrative-aesthetic. Due to the difficulties associated with production sound recording the dialogue was re-recorded, as were the foley effects (the suit and boots).  The main sound elements are wind, the radio, her suit and the seagull.  Wind and sand were important to the ‘realism’ and film’s visual aesthetic.  The ever-present wind shifts with her journey and emotional states.  Radio broadcasts were treated as support for the narrative, more so than dialogue.  The seagull is intentionally organic (real), despite the visual design (and ‘reality’ of life on Mars), which implies the seagull is or could be a hallucination. The footsteps are a combination of sand, gravel, rocks and shell.  The overall aim was to create a feel reminiscent of ‘old school’ science fiction feel to match the visual effects, which were added during postproduction. 

Directors Statement, Film Clips

1. Full Mix

2. SFX Only (Atmos, SFX, Foley & Sound Design Textures)

3. Music Only

4. Dialogue Only